Qsic’s stars in the making 2019

By Annie Konieczny

Here at Qsic, we’re excited for some special announcements in 2019 all of which will make our clients’ lives even easier and put us firmly at the forefront of music innovation. We’ve got streamlined technology coming out, a whole new department opening and even more global expansion on the horizon. Keep your eyes open for news! At our heart though, is our deep love of music, so we thought what better way to start the new year than with a list of  artists to look out for in 2019.

Back in the day, it took a couple of years for a new artist to emerge like a phoenix rising from the ashes but, now, you can be a virtually unknown artist with a couple of popular songs on SoundCloud and resurface as megastar in a matter of weeks.

That’s not to say there’s anything wrong with the way things are moving, just a warning that there are bound to be some huge acts in 2019 who we’ve not even heard so much as a chord from yet – these days, anything is possible.

So, here’s our list. Would love to hear what you think:

1.Wafia

We had to start with an Australian-born artist. Wafia is the daughter of Iraqi and Syrian immigrants and a medical school dropout who chose instead to make insane electro-pop tunes rather than to become a doctor. She’s already made a fan out of Pharrell who plugged her track I’m Good on his Beats 1 show.

2. Ama Lou

Ama first came onto the scene with her powerful debut single TBC a couple of years back – a tune about the Black Lives Matter movement. Not only did she make her 2018 Ep DDD into a short film which has over a million views on YouTube, but she’s also just finishing touring with Jorja Smith and was Drake’s muse for his latest tune, Scorpion.

3. Giant Swan

This Bristol twosome bring high-energy, hardcore, punk, ‘techno-not-techno,’ improvisational live sets to clubs across the UK and have a dedicated following as a result of their totally unique sound.  Their recent release on the pioneering label Whities is absolutely wild with explosive drums and distorted vocals. These guys are made for massive festivals and will, no doubt, be on the big stage very soon.

4. Tenille Townes

Country Music is massive and Tenille Townes is touted as the next big thing on the scene – lucky for her if Taylor Swift’s net worth is anything to go by. Originally from Grand Prairie, Alberta, Canada, she was nominated for a 2011 Canadian Country Music Award for Female Artist of the Year (she was just 17-years-old). She’s had a huge 2018 joining Miranda Lambert and Little Big Town as the opening acts on their joint The Bandwagon Tour. She also released her Living Room Worktapes EP in 2018 which features her single Somebody’s Daughter. We’re expecting big things from Tenille in 2019.

5. Badflower

These guys exploded into 2018 with the success of their single Ghost and have recently performed at the Daytime Stage at the iHeartRadio Music Festival in Las Vegas. They are also the first rock band to sign to fashion designer John Varvatos’ new label with the Big Machine Label Group. This year, Badflower is set to release their debut studio album OK, I’m Sick and will be touring later on in the year.

6. Yaeji House

We loved her cover of Passionfruit by Drake and here’s hoping we hear a lot more of YaejiHouses’ truly unique sound: English and Korean rap to the tune of epic house and hip-hop beats.

7. The Withers

This five-piece indie rock band from Los Angeles have a soulful, 60’s girl group, garage, funk and psychedelia feel which, as you can imagine, sounds incredible live. The band are currently making their first album with Griffin Rodriguez (Neutral Milk Hotel, Beirut, Modest Mouse, Akron Family) which should be released early in 2019.

8. Normani

Normani is an American singer and dancer best known as a member of the girl group Fifth Harmony. In 2017, her first single, the duet Love Lies with singer Khalid, recorded for the movie Love, Simon soundtrack, reached number nine on the US Billboard Hot 100. She’s currently working on her debut solo album.

9. Black Futures

If you like Death From Above, The Chemical Brothers or Nine Inch Nails, you’ll love these guys. Their live shows are like a post-apocalyptic, dystopian nightmare… but a really great one.

10. Grace Carter

She taught herself piano by watching YouTube tutorials and has since grown into a talented and original young songwriter. Her single “Why Her Not Me” is about her father choosing another life over raising her.

 

 

 

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Qsic offer solution to hairy music-licensing problem

What is now an industry-leading automated and intelligent audio system was, in the beginning, something simpler. Qsic launchedin 2012 on the premise that some business owners playing music in their shops and restaurants would be doing so illegally due to an innocent unawareness of the licensing and copyright regulations involved. Their idea was to offer a legal solution. Fast forward six years – and to a six-figure fine levied on a Melbourne bar – and it looks like their premise was right and their solution more relevant than ever.

According to a study conducted by Nielsen[1]earlier this month, the majority of business owners incorrectly believe that a personal account can be used to play background music in say a café, and only 17 percent of small businesses have the correct licences to play music at all. The study encompassed 5,000 in-store interviews with businesses in the U.S., U.K., Sweden, Spain, Italy, France and Germany and revealed that 83 per cent of businesses are using personal music subscriptions and free music services to play songs in a public setting, costing the global music industry $2.65 billion annually and artists over $100 million a month.

So, how do you get your venue licensed appropriately here in Australia? With great difficulty. Intellectual property law, which creates copyrights to safeguard inventors of music, is a minefield and no exception is made when it comes to playing background music – including radio – in stores, restaurants or other venues constituting a “public performance.” To do it legally, you’ll need to navigate laws regarding mechanical rights which not only grant the licence to copy and distribute music but govern everything from online music streaming to playing CDs, vinyl and even those cassette-tape vestiges in the box under your bed.  If you don’t own the mechanical rights to these devices, you can’t play them.

Where can you buy these rights? You can’t. Not directly anyway – and this is where things get more complicated. Businesses playing background music are required to obtain a licence under the Copyright Act 1968. These range from $80 AUD to over $2,000 AUD annually depending on the size of venue and number of devices used to play the music. Fees are paid to the Australasian Performing Right Association (APRA) and the Phonographic Performance Company of Australia (PPCA) to cover royalties for the composer, publisher and artist and it doesn’t stop there. Music duplication fees must also be paid annually to the Australasian Mechanical Copyright Owners Society (AMCOS) and Australian Recording Industry Association (ARIA) via PPCA when copying music onto a smart device, MP3 player or CD.

If this all read like “blah blah blah,” then you’re not alone. Businesses everywhere are up in arms not only about the myriad bodies to which fees are owed and the convoluted pricing structures involved, but because of the lack of guidance – who knew that an APRA licence was necessary when a personal subscription had already been paid? But, as the saying goes, ignorance of the law excuses not and continuing to play personal music in your venue this way will leave you with repeated cease and desist notices at best or –  at worst – a hefty fine as was the case for the owner of Melbourne café-come-bar Hairy Little Sista earlier this month who was ordered to pay a staggering $185,000 AUD for infringements.

In response to the growing concern from businesses, a solution has been proffered by APRA, AMCOS and the PPCA: OneMusic Australia. To paraphrase the website spiel, set to launch in 2019 the combined body will hold more than 140,000 public performance music licences currently held by Australian businesses and will see new licences developed with new fee structures. The aim is to simplify the current model by removing the reporting requirements around the number of devices and different types of spaces used, but overall fees will increase with what appears to be little or no value add.

Cue the QSIC platform, which offers a cost-effective resolution. Not only does the platform keep you on the right side of the law, taking care of all of the above and therefore removing the nuisance from your business administration, but the platform also has the capability to deliver branded curation to subscribers which can be distributed to Australia-wide subsidiaries, giving businesses visibility across their entire network. There are a number of other features for businesses included in the service such as API access, music scheduling, consumer analytics, digital-signage integration, head-office control, audio-advertising functionality, multi-zone audio and much more making Qsic the obvious choice for punters wanting bang for their buck in this messy space.

“It seems obvious that you can’t play Netflix to a large audience but for some reason people don’t apply the same logic to music streaming,” says Matt Elsley, Qsic CEO and Founder.

“Education is necessary but what small businesses want is life to be made easy and that’s at the heart of what we do.

“The case of Hairy Little Sista has been a wake-up call for businesses all over Melbourne and we’re happy to chat to concerned venue owners about their needs,” he says.

Business owners know that music has profound effects on the way customers engage with and enjoy their spaces. What they have been slower to realise is that laws governing playing music in these spaces are complex and purchasing a personal subscription to Spotify or buying a CD to play for your patrons can land you in strife. Who knew an act as seemingly innocuous as a playing “Saturday Night” by the Bay City Rollers could leave you Bay-City-Rolling in a six-figure fine. No doubt, most companies would gladly pay if they knew they were doing something wrong and, hopefully, Hairy Little Sistawill be enough to raise the red flag for businesses wanting to ethically and legally source their music so musicians are getting the money they’re entitled too.

To speak with one of Qsic’s friendly tech team: 1300 113 279

[1]Published on Monday 15 October 2018 by fellow licensing service Soundtrack Your Brand

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